Textures Around Quotes

Be where you are. Look around. Just look, don't interpret. See the light, shapes, colors, textures. Be aware of the silent presence of each thing. Be aware of the space that allows everything to be.

Last night I wept in a way I haven’t wept for some time. I wept until I aged myself. I watched it happen in the mirror. I watched the lines arrive around my eyes like engraved sunbursts; it was like watching flowers open in time-lapse on a windowsill. The tears not only aged my face, they also changed its texture, turned the skin of my cheeks into putty. I recognized this as a rite of decadence, but I did not know how to stop it.

What if I told you that the world around you, with its rich colors, textures, sounds, and scents is an illusion, a show put on for you by your brain? If you could perceive reality as it is, you would be shocked by its colorless, odorless, tasteless silence. Outside your brain, there is just energy and matter.

When I put my hands on your body on your flesh I feel the history of that body. Not just the beginning of its forming in that distant lake but all the way beyond its ending. I feel the warmth and texture and simultaneously I see the flesh unwrap from the layers of fat and disappear. I see the fat disappear from the muscle. I see the muscle disappearing from around the organs and detaching iself from the bones. I see the organs gradually fade into transparency leaving a gleaming skeleton gleaming like ivory that slowly resolves until it becomes dust. I am consumed in the sense of your weight, the way your flesh occupies momentary space the fullness of it beneath my palms. I am amazed at how perfectly your body fits to the curves of my hands. If I could attach our blood vessels so we could become each other I would. If I could attach our blood vessels in order to anchor you to the earth to this present time I would. If I could open up your body and slip inside your skin and look out your eyes and forever have my lips fused with yours I would. It makes me weep to feel the history of your flesh beneath my hands in a time of so much loss. It makes me weep to feel the movement of your flesh beneath my palms as you twist and turn over to one side to create a series of gestures to reach up around my neck to draw me nearer. All these memories will be lost in time like tears in the rain.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

The room was a compact, informal library. Books stood or were stacked on the shelves that ran along two walls from floor to ceiling, sat on the tables like knickknacks, trooped around the room like soldiers. They struck Malory as more than knowledge or entertainment, even more than stories or information. They were colour and texture, in a haphazard yet somehow intricate decorating scheme. The short leg of the L-shaped room boasted still more books, as well as a small table that held the remains of Dana's breakfast. With her hands on her hips, Dana watched Malory's perusal of her space. She'd seen the reaction before. 'No I haven't read them all, but I will.And no I don't know how many I have. Want coffee?' Let me just ask this. Do you ever actually use the services of the library?' Sure, but I need to own them. If I don't have twenty or thirty books right here, waiting to be read, I start jonesing. That's my compulsion.

COBB: Our dreams feel real while we're in them. It's only when we wake we realize things were strange. Ariadne gestures around them- ARIADNE: But all the textures of real life-the stone, the fabric... cars... people... your mind can't create all this. COBB: It does. Every time you dream. Let me ask you a question: You never remember the beginning of your dreams, do you? You just turn up in the middle of what's going on. ARIADNE: I guess. COBB: So... how did we end up at this restaurant?

Earth teems with sights and textures, sounds and vibrations, smells and tastes, electric and magnetic fields. But every animal can only tap into a small fraction of realities fullness. Each is enclosed within its own unique sensory bubble, perceiving but a tiny silver of an immense world.

Fear has a lot of flavors and textures. There's a sharp, silver fear that runs like lightning through your arms and legs, galvanizes you into action, power, motion. There's heavy, leaden fear that comes in ingots, piling up in your belly during the empty hours between midnight and morning, when everything is dark, every problem grows larger, and every wound and illness grows worse. And there is coppery fear, drawn tight as the strings of a violin, quavering on one single note that cannot possibly be sustained for a single second longer—but goes on and on and on, the tension before the crash of cymbals, the brassy challenge of the horns, the threatening rumble of the kettle drums. That's the kind of fear I felt. Horrible, clutching tension that left the coppery flavor of blood on my tongue. Fear of the creatures in the darkness around me, of my own weakness, the stolen power the Nightmare had torn from me. And fear for those around me, for the folk who didn't have the power I had.

Everything you do is connected to who you are as a person and, in turn, creates the person you are becoming. Everything you do affects those you love. All of life is covenant. Imbedded in the idea of prayer is a richly textured view of the world where all of life is organized around invisible bonds or covenants that knit us together. Instead of a fixed world, we live in our Father's world, a world built for divine relationships between people where, because of the Good News, tragedies become comedies and hope is born.

He handed me a bandana. "Tie that on." "Why?" I said, but I did it anyway. "Norman, you are way too into ceremony." "It's important." I could hear him moving around, adjusting things, before he came to sit beside me. "Okay," he said. "Take a look." I pulled off the blindfold. Beside me, Norman watched me see myself for the first time. And it was me. At least, it was a girl who looked like me. She was sitting on the back stoop of the restaurant, legs crossed and dangling down. She had her head slightly tilted, as if she had been asked something and was waiting for the right moment to respond, smiling slightly behind the sunglasses that were perched on her nose, barely reflecting part of a blue sky. The girl was something else, though. Something I hadn't expected. She was beautiful. Not in the cookie-cutter way of all the faces encircling Isabel's mirror. And not in the easy, almost effortless style of a girl like Caroline Dawes. This girl who stared back at me, with her lip ring and her half smile - not quite earned - knew she wasn't like the others. She knew the secret. And she'd clicked her heels three times to find her way home. "Oh, my God," I said to Norman, reaching forward to touch the painting, which still didn't seem real. My own face, bumpy and textured beneath my fingers, stared back at me. "Is this how you see me?" "Colie." He was right beside me. "That's how you are.

Trevor cupped his hands around it, felt Zach's heartbeat throbbing between his palms. The skin of the shaft was textured, slightly rippled beneath the surface. The head was as smooth as satin, as rose petals. Trevor rubbed his thumb across it, squeezed gently, heard Zack suck air in through his teeth and moan as he let it out. He could see blood suffusing the tissue just beneath the translucent skin, a deep dusky rose delicately purpled at the edges, crowned with a single dewy pearl of come. It was as intimate, as raw as holding someone's heart in his hands.

Christ, she missed him outrageously. Disgusted with herself, she ducked her head under the spray and let it pound on her brain. When hands slipped around her waist, then slid up to cup her breasts, she barely jolted. But her heart leaped. She knew his touch, the feel of those long, slim fingers, the texture of those wide palms. She tipped her head back, inviting a mouth to the curve of her shoulder. "Mmm. Summerset. You wild man." Teeth nipped into flesh and made her chuckle. Thumbs brushed over her soapy nipples and made her moan. "I'm not going to fire him." Roarke trailed a hand down the center of her body. "It was worth a shot. You're back..." His fingers dipped expertly inside her, slick and slippery, so that she arched, moaned, and came simultaneously. "Early," she finished on an explosive breath. "God." "I'd say I was just on time.

To make a lacy texture of holes and fills, turn around and purl. Pearl is also a kind of colour. Colours are all the colours of the rainbow and the colours between the rainbow colours between. I can never get indigo. Year after year, I wait for indigo, but even when the fashion is navy, you never get indigo, the glow, the long slow glow of indigo in the high night sky.

Is that … chocolate cake?” “I thought you might need some.” “Need, not want?” A ghost of a smile was on her lips, and he almost sagged in relief as he said, “For you, I’d say that chocolate cake is most definitely a need.” She crossed from the fireplace to where he stood, stopping a hand’s breadth away and staring up at him. Some of the color had returned to her face. He should step back, put more distance between them. But instead, he found himself reaching for her, a hand slipping around her waist and the other twining itself through her hair as he held her tightly to him. His heart thundered through him so hard he knew she could feel it. After a second, her arms came up around him, her fingers digging into his back in a way that made him realize how close they stood. He shoved that feeling down, even as the silken texture of her hair against his fingers made him want to bury his face in it, and the smell of her, laced with mist and night, had him grazing his nose against her neck. There were other kinds of comfort that he could give her than mere words, and if she needed that kind of distraction … He shoved down that thought, too, swallowing it until he nearly choked on it. Her fingers were moving down his back, still digging into his muscles with a fierce kind of possession. If she kept touching him like that, his control was going to slip completely. And then she pulled back, just far enough to look up at him again, still so close their breath mingled. He found himself gauging the distance between their lips, his eyes flicking between her mouth and her eyes, the hand he had entwined in her hair stilling. Desire roared through him, burning down every defense he’d put up, erasing every line he’d convinced himself he had to maintain.

Philosophers and psychologists may argue over what’s real and what isn’t, but most of us living ordinary lives know and accept the texture of the world around us.

This is happening; this is not fiction. And the thing about life? It doesn't have texture at all. Go ahead, feel the space around you. Do it now. See? It's nothing but air.

Seven hundred years ago, Tersa had told [Daemon] the living myth was coming. Seven hundred years of waiting, watching, searching, hoping. Seven hundred heartbreaking, exhausting years. He refused to give up, refused to wonder if she’d been mistaken, refused because his heart yearned too much for that strange, wonderful, terrifying creature called Witch. In his soul, he knew her. In his dreams, he saw her. He never envisioned a face. It always blurred if he tried to focus on it. But he could see her dressed in a robe made of dark, transparent spidersilk, a robe that slid from her shoulders as she moved, a robe that opened and closed as she walked, revealing bare, night-cool skin. And there would be a scent in the room that was her, a scent he would wake to, burying his face in her pillow after she was up and attending her own concerns. It wasn’t lust—the body’s fire paled in comparison to the embrace of mind to mind—although physical pleasure was part of it. He wanted to touch her, feel the texture of her skin, taste the warmth of her. He wanted to caress her until they both burned. He wanted to weave his life into hers until there was no telling where one began and the other ended. He wanted to put his arms around her, strong and protecting, and find himself protected; possess her and be possessed; dominate her and be dominated. He wanted that Other, that shadow across his life, who made him ache with every breath while he stumbled among these feeble women who meant nothing to him and never could. Simply, he believed that he had been born to be her lover.

Some words are more than letters on a page, don’t you think?” she said, tying the sash around my belly as best she could. “They have shape and texture. They are like bullets, full of energy, and when you give one breath you can feel its sharp edge against your lip. It can be quite cathartic in the right context.

It was the breeze that made her look up, a change in the texture of the unseen, a change in the texture of her heart. She was ready. Charlotte moved with firm footing around a stand of beech trees and onto a moonbeam path. A pearly, full moon glowed over Red Mountain, burning back the curtains of night.

Before long, Maxine finds herself wandering around clicking on everything, faces, litter on the floor, labels on bottles behind the bar, after a while interested not so much in where she might get to than the texture of the search itself.

What could he say that might make sense to them? Could he say love was, above all, common cause, shared experience? That was the vital cement, wasn't it? Could he say how he felt about their all being here tonight on this wild world running around a big sun which fell through a bigger space falling through yet vaster immensities of space, maybe toward and maybe away from Something? Could he say: we share this billion-mile-an-hour rid. We have common cause against the night. You start with little common causes. Why love the boy in a March field with his kite braving the sky? Because our fingers burn with the hot string singeing our hands. Why love some girl viewed from a train bent to a country well? The tongue remembers iron water cool on some long lost noon. Why weep at strangers dead by the road? They resemble friends unseen in forty years. Why laugh when clowns are hot by pies? We taste custard we taste life. Why love the woman who is your wife? Her nose breathes the air of a world that I know; therefore I love that nose. Her ears hear music I might sing half the night through; therefore I love her ears. Her eyes delight in seasons of the land; and so I love those eyes. Her tongue knows quince, peach, chokeberry, mint and lime; I love to hear it speaking. Because her flesh knows heat, cold, affliction, I know fire, snow, and pain. Shared and once again shared experience. Billions of prickling textures. Cut one sense away, cut part of life away. Cut two senses; life halves itself on the instant. We love what we know, we love what we are. Common cause, common cause, common cause of mouth, eye, ear, tongue, hand, nose, flesh, heart, and soul. But... how to say it?

Your mind is too focussed on human beings. Observe the patterns, shapes, colours, texture, sounds and sensations around you. Soon you will come out of human identity and realize that you're not a person but a presence. You're not something that exists; you're the existence itself.

I've got my Motown girl-group music playing, and my supplies are laid out all around me in a semicircle. My heart hole punch, pages and pages of scrapbook paper, pictures I've cut out of magazines, glue gun, my tape dispenser with all my different colored washi tapes. Souvenirs like the playbill from when we saw Wicked in New York, receipts, pictures. Ribbon, buttons, stickers, charms. A good scrapbook has texture. It's thick and chunky and doesn't close all the way.

The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.

USE YOUR SENSES FULLY. Be where you are. Look around. Just look, don’t interpret. See the light, shapes, colors, textures. Be aware of the silent presence of each thing. Be aware of the space that allows everything to be. Listen to the sounds; don’t judge them. Listen to the silence underneath the sounds. Touch something — anything — and feel and acknowledge its Being. Observe the rhythm of your breathing; feel the air flowing in and out, feel the life energy inside your body. Allow everything to be, within and without. Allow the “isness” of all things. Move deeply into the Now. You are leaving behind the deadening world of mental abstraction, of time. You are getting out of the insane mind that is draining you of life energy, just as it is slowly poisoning and destroying the Earth. You are awakening out of the dream of time into the present.

Perhaps all remembrance is a process of compilation and creation. Every day we absorb what is around us and assemble observations of a specific time: sounds, smells, textures, words, images, and feelings. Of course, we prioritize and edit as we go, subjective witnesses to our own lives, providing recollections that are often biased and incomplete.

Considered phenomenologically—that is, as we actually experience and live it—the body is a creative, shape-shifting entity. Certainly, it has its finite character and style, its unique textures and temperaments that distinguish it from other bodies; yet these mortal limits in no way close me off from the things around me or render my relations to them wholly predictable and determinate. On the contrary, my finite bodily presence alone is what enables me to freely engage the things around me, to choose to affiliate with certain persons or places, to insinuate myself in other lives. Far from restricting my access to things and to the world, the body is my very means of entering into relation with all things.

There comes a hush between darkness and day. Like expectation of a caress. A murmur of silence. Tree crests peeked down at Paulette through slowly lifting fog. Bark felt around for its texture again. Morning gathered and drifted through mere hints; through vague hopeful nuances of ‘Just maybe’. - From "The Gardens of Ailana" handbook for healers & mystics

A narcissist is a chameleon, taking on the shape, color, and texture of the environment around him.

Her glowing skin, now sallow. Her fiery soul, now parched. Everything around her seemed to fade into black. Sounds, textures, all of her five senses now numb. She could not sleep.

Risotto is one of those dishes you just have to try a few times yourself, to teach yourself the moves and sounds and smells and textures. This is a guide map, but kind of a rough and tattered one.

Finally, as the sky began to grow light in the morning, I’d feel that I might be drifting off. But that wasn’t sleep. My fingertips were just barely brushing against the outermost edge of sleep. And all the while, my mind was awake. I would feel a hint of drowsiness, but my mind was there, in its own room, on the other side of a transparent wall, watching me. My physical self was drifting through the feeble morning light, and all the while it could feel my mind staring, breathing, close beside it. I was both a body on the verge of sleep and a mind determined to stay awake. The incomplete drowsiness would continue on and off all day. My head was always foggy. I couldn’t get an accurate fix on the things around me—their distance or mass or texture. The drowsiness would overtake me at regular, wavelike intervals: on the subway, in the classroom, at the dinner table. My mind would slip away from my body. The world would sway soundlessly. I would drop things. My pencil or my purse or my fork would clatter to the floor. All I wanted was to throw myself down and sleep. But I couldn’t. The wakefulness was always there beside me. I could feel its chilling shadow. It was the shadow of myself. Weird, I would think as the drowsiness overtook me, I’m in my own shadow. I would walk and eat and talk to people inside my drowsiness. And the strangest thing was that no one noticed. I lost fifteen pounds that month, and no one noticed. No one in my family, not one of my friends or classmates, realized that I was going through life asleep. It was literally true: I was going through life asleep. My body had no more feeling than a drowned corpse. My very existence, my life in the world, seemed like a hallucination. A strong wind would make me think that my body was about to be blown to the end of the earth, to some land I had never seen or heard of, where my mind and body would separate forever. Hold tight, I would tell myself, but there was nothing for me to hold on to.

Once you were used to this you did not want to go back, it got into your blood and kept you - this voice of luxury folding and wrapping you were soft caressing fingers. It was smooth and warm life the texture of velvet, it was cool and soothing like a linen sheet, it shone white and still like the pearls Rachel wore, and slowly, cunningly, with infinite subtlety it wove a web around your hands and feet, it cast a chain about your neck.

When I started to draw, most of my influences were from other painters and illustrators, so I was drawing landscape at second hand, really. The trees were Rackham trees, or trees that I had seen in paintings rather than from my own observation...and I started to feel this was a real lack in my work. Everything was too generalised, and not based on real experience. Then in 1975, after having worked for some years in London as a book cover illustrator mainly, I came down to Devon and stayed with some friends up on the moor. In the course of this one weekend, wandering around the moor, finding rivers and ancient woods, I realised that everything that I would ever want to draw was actually here. There was so much richness in the texture and forms of these fantastic trees...and I decided in the course of that weekend to come and live here. I looked at a couple of houses, found one, and made an offer on it, all in that one weekend!

They are living, growing, reproducing, pushing and pulling in the ground all around us at all times. We accept that without even noticing. Open your eyes, people. This is amazing. If plants made sounds, it would all be different. But they communicate with color and shape and size and texture. They don’t meow or bark or tweet. We think they don’t have eyes, but they see the angle of the sun and the rise of the moon. They don’t just feel the wind; they change directions because of it.

You were born on a moving train. And even though it feels like you're standing still, time is sweeping past you, right where you sit. But once in a while you look up, and actually feel the inertia, and watch as the present turns into a memory —as if some future you is already looking back on it. Dès Vu. One day you’ll remember this moment, and it’ll mean something very different. Maybe you’ll cringe and laugh, or brim with pride, aching to return. or notice some detail hidden in the scene, a future landmark making its first appearance or discreetly taking its final bow. So you try to sense it ahead of time, looking for clues, as if you’re walking through the memory while it’s still happening, feeling for all the world like a time traveler. The world around you is secretly strange: some details are charming and dated, others precious and irretrievable, but all fade into the quaint texture of the day. You try to read the faces around you, each fretting about the day’s concerns, not yet realizing that this world is already out of their hands. That it doesn’t have to be this way, it just sort of happened, and everything will soon be completely different. Because you really are a time traveler, leaping into the future in little tentative steps. Just a kid stuck in a strange land without a map, With nothing to do but soak in the moment and take one last look before moving on. But another part of you is already an old man, looking back on things. Waiting at the door for his granddaughter, who’s trying to make her way home for a visit. You are two people still separated by an ocean of time, Part of you bursting to talk about what you saw, Part of you longing to tell you what it means.

Mindfulness meditation is often thought of as warm and fuzzy and, in a way, anti-rational. It is said to be about “getting in touch with your feelings” and “not making judgments.” And, yes, it does involve those things. It can let you experience your feelings—anger, love, sorrow, joy—with new sensitivity, seeing their texture, even feeling their texture, as never before. And the reason this is possible is that you are, in a sense, not making judgments—that is, you are not mindlessly labeling your feelings as bad or good, not fleeing from them or rushing to embrace them. So you can stay close to them yet not be lost in them; you can pay attention to what they actually feel like. Still, you do this not in order to abandon your rational faculties but rather to engage them: you can now subject your feelings to a kind of reasoned analysis that will let you judiciously decide which ones are good guiding lights. So what “not making judgments” ultimately means is not letting your feelings make judgments for you. And what “getting in touch with your feelings” ultimately means is not being so oblivious to them that you get pushed around by them.

Use your senses fully. Be where you are. Look around. Just look, don’t interpret. See the light, shapes, colors, textures. Be aware of the silent presence of each thing. Be aware of the space that allows everything to be. Listen to the sounds; don’t judge them. Listen to the silence underneath the sounds. Touch something — anything — and feel and acknowledge its Being. Observe the rhythm of your breathing; feel the air flowing in and out, feel the life energy inside your body. Allow everything to be, within and without. Allow the “isness” of all things. Move deeply into the Now.

Sometimes people ask me why I travel so much, and specifically why we travel with Henry so often. I think they think it’s easier to keep the kids at home, in their routines, surrounded by their stuff. It is. But we travel because it’s there. Because Capri exists and Kenya exists and Tel Aviv exists, and I want to taste every bite of it. We travel because I want my kids to learn, as I learned, that there are a million ways to live, a million ways to eat, a million ways to dress and speak and view the world. I want them to know that “our way” isn’t the right way, but just one way, that children all over the world, no matter how different they seem, are just like the children in our neighborhood—they love to play, to discover, to learn. I want my kids to learn firsthand and up close that different isn’t bad, but instead that different is exciting and wonderful and worth taking the time to understand. I want them to see themselves as bit players in a huge, sweeping, beautiful play, not as the main characters in the drama of our living room. I want my kids to taste and smell and experience the biggest possible world, because every bite of it, every taste and texture and flavor, is delicious.

How does the biological wetware of the brain give rise to our experience: the sight of emerald green, the taste of cinnamon, the smell of wet soil? What if I told you that the world around you, with its rich colors, textures, sounds, and scents is an illusion, a show put on for you by your brain? If you could perceive reality as it really is, you would be shocked by its colorless, odorless, tasteless silence. Outside your brain, there is just energy and matter. Over millions of years of evolution the human brain has become adept at turning this energy and matter into a rich sensory experience of being in the world.

I have written various words, verbs, adjectives, and adverbs, and bits of dismantled sentences, fragments of expressions and descriptions and all kinds of tentative combinations. Every now and again I pick up one these particles, these molecules of texts, hold it up to the light and examine it carefully, turn it in various directions, lean forward and rub or polish it, hold it up to the light again, rub it again slightly, then lean forward and fit it into the texture of the cloth I am weaving. Then I stare at it from different angles, still not entirely satisfied, and take it out again and replace it with another word, or try to fit it into another niche in the same sentence, then remove, file it down a tiny bit more, and try to fit it in again, perhaps at a slightly different angle. Or deploy it differently. Perhaps farther down the sentence. Or at the beginning of the next one. Or should I cut it off and make it into a one-word sentence on its own? I stand up. Walk around the room. Return to the desk. Stare at it for a few moments or longer, cross out the whole sentence or tear up the whole page. I give up in despair. I curse myself aloud and curse writing in general and the language as a whole, despite which I sit down and start putting the whole thing together all over again. [p.268]

Finally, as the sky began to grow light in the morning, I’d feel that I might be drifting off. But that wasn’t sleep. My fingertips were just barely brushing against the outermost edge of sleep. And all the while, my mind was awake. I would feel a hint of drowsiness, but my mind was there, in its own room, on the other side of a transparent wall, watching me. My physical self was drifting through the feeble morning light, and all the while it could feel my mind staring, breathing, close beside it. I was both a body on the verge of sleep and a mind determined to stay awake. The incomplete drowsiness would continue on and off all day. My head was always foggy. I couldn’t get an accurate fix on the things around me—their distance or mass or texture. The drowsiness would overtake me at regular, wavelike intervals: on the subway, in the classroom, at the diner table. My mind would slip away from my body. The world would sway soundlessly. I would drop things. My pencil or my purse or my fork would clatter to the floor. All I wanted was to throw myself down and sleep. But I couldn’t. The wakefulness was always there beside me. I could feel its chilling shadow. It was the shadow of myself. Weird, I would think as the drowsiness overtook me, I’m in my own shadow. I would walk and eat and talk to people inside my drowsiness. And the strangest thing was that no one noticed. I lost fifteen pounds that month, and no one noticed. No one in my family, not one of my friends or classmates, realized that I was going through life asleep. It was literally true: I was going through life asleep. My body had no more feeling than a drowned corpse. My very existence, my life in the world, seemed like a hallucination. A strong wind would make me think that my body was about to be blown to the end of the earth, to some land I had never seen or heard of, where my mind and body would separate forever. Hold tight, I would tell myself, but there was nothing for me to hold on to.

She turned to put the basket of bread on the table and saw Brian, and the clutch of mums and zinnias he held in his hand. "It seemed to call for them," he said. She stared at the cheerful fall bloossoms, then up into his face. "You picked me flowers." The sheer disbelief in her voice had him moving his shoulders restlessly. "Well,you made me dinner, with wine and candles and the whole of it. Bedsides, they're your flowers anyway." "No,they're not." Drowning in love she set the basket down, waited. "Until you give them to me." "I'll never understand why women are so sensitive over posies." He held them out. "Thank you." She closed her eyes, buried her face in them. She wanted to remember the exact fragrance, the exact texture. Then lowering them again, she lifted her mouth to his for a kiss. Rubbed her cheek against his. His arms came around her so suddenly, so tightly, she gasped. "Brian? What is it?" That gesture,the simple and sweet gesture of cheek against cheek nearly destroyed him. "It's nothing. I just like the way you feel against me when I hold you." "Hold me any tighter,I'll be through you.

I dreamed not long ago of that market with all its vivid textures. I walked through the stalls with a basket over my arms as always and went right to Edita for a bunch of fresh cilantro. We chatted and laughed and when I held out my coins she waved them off, patting my arm and sending me away. A gift, she said. Muchas gracias, señora, I replied. There was my favorite panadera, with clean cloths laid over the round loaves. I chose a few rolls, opened my purse, and this vendor too gestured away my money as if I were impolite to suggest paying. I looked around in bewilderment; this was my familiar market and yet everything had changed. It wasn't just for me—no shopper was paying. I floated through the market with a sense of euphoria. Gratitude was the only currency accepted here. It was all a gift. It was like picking strawberries in my field: the merchants were just the intermediaries passing on gifts from the earth. I looked in my basket: two zucchinis, an onion, tomatoes, bread, and a bunch of cilantro. It was still half empty, but it felt full. I had everything I needed. I glanced over at the cheese stall, thinking to get some, but knowing it would be given, not sold, I decided I could do without. It's funny: Had all the things in the market merely been a very low price, I probably would have scooped up as much as I could. But when everything became a gift, I felt self-restraint. I didn't want to take too much. And I began thinking of what small presents I might bring to the vendors tomorrow. The dream faded, of course, but the feelings of euphoria and then of self-restraint remain. I've thought of it often and recognize now that I was witness there to the conversion of a market economy to a gift economy, from private goods to common wealth. And in that transformation the relationships became as nourishing as the food I was getting. Across the market stalls and blankets, warmth and compassion were changing hands. There was a shared celebration of abundance for all we'd been given. And since every market basket contained a meal, there was justice.

It had been in those months of waiting probably that he'd first become aware of the absence inside him, the longing for a life that existed beyond the boundaries of the Colombo and Sri Lanka he knew, an absence that he hadn't felt as an absence so much as a kind of willingness to be drawn elsewhere, an absence that made him, paradoxically, more present to the world around him, more delicately aware of its surfaces and textures and moods.

I want my kids to learn firsthand and up close that different isn’t bad, but instead that different is exciting and wonderful and worth taking the time to understand. I want them to see themselves as bit players in a huge, sweeping, beautiful play, not as the main characters in the drama of our living room. I want my kids to taste and smell and experience the biggest possible world, because every bite of it, every taste and texture and flavor, is delicious.

Having studied art history, as opposed to political history, I tend to incorporate found objects into my books. Just as Pablo Picasso glued a fragment of furniture onto the canvas of Still Life with Chair Caning, I like to use whatever's lying around to paint pictures of the past--traditional pigment like archival documents but also the added texture of whatever bits and bobs I learn from looking out bus windows or chatting up people I bump into on the road.

God reveals himself, that is, in creation and in Christ, in ways we can see and hear and touch and taste, in place and person. Beauty is the term we apply to these hints of transcendence, these perceptions that there is more going on here than we can account for. And that is how we come to identify as apostles of the gospel the men and women and, yes, children, who use words and images and sounds and textures to wake us up to beauty latent and implicit all around us.

When hands slipped around her waist, then slid up to cup her breasts, she barely jolted. But her heart leaped. She knew his touch, the feel of those long, slim fingers, the texture of those wide palms. She tipped her head back, inviting a mouth to the curve of her shoulder. "Mmm. Summerset. You wild man." Teeth nipped into flesh and made her chuckle. Thumbs brushed over her soapy nipples and made her moan. "I'm not going to fire him." Roarke trailed a hand down the center of her body. "It was worth a shot.

What could he say that might make sense to them? Could he say love was, above all, common cause, shared experience? That was the vital cement, wasn’t it? Could he say how he felt about their all being here tonight on this wild world running around a big sun which fell through a bigger space falling through yet vaster immensities of space, maybe toward and maybe away from Something? Could he say: we share this billion-mile-an-hour ride. We have common cause against the night. You start with little common causes. Why love the boy in a March field with his kite braving the sky? Because our fingers burn with the hot string singeing our hands. Why love some girl viewed from a train, bent to a country well? The tongue remembers iron water cool on some long lost noon. Why weep at strangers dead by the road? They resemble friends unseen in forty years. Why laugh when clowns are hit by pies? We taste custard, we taste life. Why love the woman who is your wife? Her nose breathes in the air of a world that I know; therefore I love that nose. Her ears hear music I might sing half the night through; therefore I love her ears. Her eyes delight in seasons of the land; and so I love those eyes. Her tongue knows quince, peach, chokeberry, mint and lime; I love to hear it speaking. Because her flesh knows heat, cold, affliction, I know fire, snow, and pain. Shared and once again shared experience. Billions of prickling textures. Cut one sense away, cut part of life away. Cut two senses; life halves itself on the instant. We love what we know, we love what we are. Common cause, common cause, common cause of mouth, eye, ear, tongue, hand, nose, flesh, heart, and soul.

I run my finger along the textured silk. “It’s so beautiful.” “Salishen silk,” Mage Florel says reverently. “From the Salishen Isles. They’re master weavers, the Salish. True artists. And all of their embroidery is as exquisite as this.” I glance up at her. “Do you think you could use this?” “Of course, Mage Gardner,” she replies, obviously thrilled by my choice. Fallon’s hand comes down on the fabric. “You can’t use this,” she says, her tone hard. I blink up at her in resentful surprise. “Why?” “Because,” she replies, her voice syrupy with condescension, “this is what my dress is being made of.” “Ah, what a pity,” Mage Florel sighs. She pats my shoulder sympathetically. “I’ve others, Mage Gardner, don’t you fret. We’ll find something just as lovely for you...” Heart racing, I put my own hand down firmly on the fabric sample, right next to Fallon’s. I meet Fallon’s stare and hold it. “No. I want this one.” Everyone gapes at me. Fallon leans in a fraction and bares her teeth. “You can’t have it.” I try to ignore the slight trembling of my hand. “Oh, come now, Fallon,” I say as I gesture at the fabric around us, mimicking her sneering tone. “It’s all black. And I’m sure the cut will be different.” I look over at Mage Florel, whose eyes are as wide as everyone else’s. “Can you make sure it’s very different from hers?” Fallon spits out a sound of contempt. “My dress isn’t being made here. I have my own dressmaker.” “Well, then,” I tell her. “That simplifies things.” I turn to Mage Florel. “Can you make it for me in time? With this fabric?” Mage Florel gives me an appraising look, her eyes darting toward Fallon as if weighing the options. She lifts her chin. “Why, yes, Mage Gardner. I think I can.” She smiles coldly at Fallon. “Why don’t you tell me what your dress is like, dear? I’ll make sure it’s quite different.

It had all begun on the elevated. There was a particular little sea of roots he had grown into the habit of glancing at just as the packed car carrying him homeward lurched around a turn. A dingy, melancholy little world of tar paper, tarred gravel, and smoky brick. Rusty tin chimneys with odd conical hats suggested abandoned listening posts. There was a washed-out advertisement of some ancient patent medicine on the nearest wall. Superficially it was like ten thousand other drab city roofs. But he always saw it around dusk, either in the normal, smoky half-light, or tinged with red by the flat rays of a dirty sunset, or covered by ghostly windblown white sheets of rain-splash, or patched with blackish snow; and it seemed unusually bleak and suggestive, almost beautifully ugly, though in no sense picturesque; dreary but meaningful. Unconsciously it came to symbolize for Catesby Wran certain disagreeable aspects of the frustrated, frightened century in which he lived, the jangled century of hate and heavy industry and Fascist wars. The quick, daily glance into the half darkness became an integral part of his life. Oddly, he never saw it in the morning, for it was then his habit to sit on the other side of the car, his head buried in the paper. One evening toward winter he noticed what seemed to be a shapeless black sack lying on the third roof from the tracks. He did not think about it. It merely registered as an addition to the well-known scene and his memory stored away the impression for further reference. Next evening, however, he decided he had been mistaken in one detail. The object was a roof nearer than he had thought. Its color and texture, and the grimy stains around it, suggested that it was filled with coal dust, which was hardly reasonable. Then, too, the following evening it seemed to have been blown against a rusty ventilator by the wind, which could hardly have happened if it were at all heavy. ("Smoke Ghost")

Sitting under a tree, I studied my options. The fall flowers were in full bloom: verbena, goldenrod, chrysanthemum, and a late-blooming rose. The carefully tended city beds around the park held layers of textured evergreen but little color. I set to work, considering height, density, texture, and layers of scent, removing touch-damaged petals with careful pinches. When I had finished, spiraling white mums emerged from a cushion of snow-colored verbena, and clusters of pale climbing roses circled and dripped over the edge of a tightly wrapped nosegay. I removed every thorn. The bouquet was white as a wedding and spoke of prayers, truth, and an unacquainted heart.

If you heard that a crazy hamster princess with a sword was attacking ogres who ate people, wouldn’t you consider a change of diet?” Harriet thought about this. It did seem logical, and it was cool that her reputation had spread so far, but it was a bit disappointing to come all this way and discover that the monster had already gone on a diet. “So what do you eat?” “Soy, mostly,” said the Ogrecat. “They do a pretty good person-flavored tofu. Of course, the texture’s not quite right, but everybody heard what you did to my great-aunt, so I can live with the texture.” He rooted around until he found the book he had dropped, which was titled To Serve Man-Flavored Substitute, and waved it at her.

He had stood there looking around him, hunting someone, and had not found whoever it was and turned to go; but in turning, he caught sight of Emily and paused and looked at her again, and then frowned and went on out. She had not actually been introduced to him for another week. But now it seemed to her that at his entrance--swinging through the library door, carrying a single book in his hand (his fingers fine-textured and brown, his shirtcuffs so perfectly white)--her life had suddenly bee set in motion. Everything had started up, as if complicated wheels and gears had finally connected, and had raced along in a blur from then on. It was only now, in this slowed-down room, that she had a chance to examine what had happened

She looked up at Christopher compassionately. "I think your problem will fade in time, as mine has. And then it might come back every once in a while, but only briefly. It won't always be this bad." Torchlight flickered in Christopher's eyes as he stared at her. He reached out and drew her close with slow, stunning tenderness. One of his hands cradled her jaw, his long fingers textured with calluses. To Beatrix's bewilderment, he eased her head against his shoulder. His arms were around her, and nothing had ever felt so wonderful. She leaned against him in a daze of pleasure, feeling the even rise and fall of his chest. He toyed with the tiny wisps at the nape of her neck, the brush of his thumb on her skin sending a rapturous quiver down her spine.

STAINS With red clay between my toes, and the sun setting over my head, the ghost of my mother blows in, riding on a honeysuckle breeze, oh lord, riding on a honeysuckle breeze. Her teeth, the keys of a piano. I play her grinning ivory notes with cadenced fumbling fingers, splattered with paint, textured with scars. A song rises up from the belly of my past and rocks me in the bosom of buried memories. My mama’s dress bears the stains of her life: blueberries, blood, bleach, and breast milk; She cradles in her arms a lifetime of love and sorrow; Its brilliance nearly blinds me. My fingers tire, as though I've played this song for years. The tune swells red, dying around the edges of a setting sun. A magnolia breeze blows in strong, a heavenly taxi sent to carry my mother home. She will not say goodbye. For there is no truth in spoken farewells. I am pregnant with a poem, my life lost in its stanzas. My mama steps out of her dress and drops it, an inheritance falling to my feet. She stands alone: bathed, blooming, burdened with nothing of this world. Her body is naked and beautiful, her wings gray and scorched, her brown eyes piercing the brown of mine. I watch her departure, her flapping wings: She doesn’t look back, not even once, not even to whisper my name: Brenda. I lick the teeth of my piano mouth. With a painter’s hands, with a writer’s hands with rusty wrinkled hands, with hands soaked in the joys, the sorrows, the spills of my mother’s life, I pick up eighty-one years of stains And pull her dress over my head. Her stains look good on me.

The first thing Rika felt was a strange breeze emanating from the back of her throat. The cold butter first met the roof of her mouth with a chilly sensation, contrasting with the steaming rice in both texture and temperature. The cool butter clashed against her teeth, and she felt its soft texture right down into their roots. Soon enough, just as Kaiji had said, the melted butter began to surge through the individual grains of rice. It was a taste that could only be described as golden. A shining golden wave, with an astounding depth of flavor and a faint yet full and rounded aroma, wrapped itself around the rice and washed Rika's body far away. It was, indeed, a lot like falling. Rika stared down intently at the bowl of rice with butter and soy sauce and let out a long sigh, feeling her breath rich and milky.

The splitting off of the Oceanic branch of this language family is thought to have taken place in the neighborhood of the Bismarcks around the time of the first Lapita settlement, and it is strongly linked with the rapid colonization of the islands between there and Samoa between 1500 and 1000 B.C. Thus, the reconstruction of Proto-Oceanic opens a window onto the otherwise fairly mysterious Lapita world. Little survives in archaeological contexts in the tropics—none of the baskets or cordage or wooden housewares, no foodstuffs or clothing, no buildings apart from stone foundations and the dark impressions left by long-decayed posts. But something of the texture of these people’s lives can be extracted from their reconstructed vocabulary, working back through the ages via whatever was essential enough to pass on.

Such a situation is comparable to the one quantum physicists encountered when they first uncovered evidence that quanta coalesce into particles only when they are being observed. Physicist Nick Herbert, a supporter of this interpretation, says this has sometimes caused him to imagine that behind his back the world is always "a radically ambiguous and ceaselessly flowing quantum soup. " But whenever he turns around and tries to see the soup, his glance instantly freezes it and turns it back into ordinary reality. He believes this makes us all a little like Midas, the legendary king who never knew the feel of silk or the caress of a human hand because everything he touched turned to gold. "Likewise humans can never experience the true texture of quantum reality, " says Herbert, "because everything we touch turns to matter.

What could he say that might make sense to them? Could he say love was, above all, common cause, shared experience? That *was* the vital cement, wasn't it? Could he say how he felt about their all being here tonight on this wild world running around a big sun which fell through a bigger space falling through yet vaster immensities of space, maybe toward and maybe away from Something? Could he say: we share this billion-mile-an-hour ride. We have common cause against the night. You start with little common causes... Shared and once again shared experience. Billions of prickling textures. Cut one sense away, cut part of life away. Cut two senses; life halves itself on the instant. We love what we know, we love what we are. Common cause, common, cause, common cause of mouth, eye, ear, tongue, hand, nose, flesh, heart, and soul. But...how to say it?

Phases of the Love Cloud Week 1: A cloud of feelings form around you. Week 2: It has the texture of cotton candy with an implied sweetness and suggestion of sensuality. Week 3: It lightens to a blinding brightness, as if barely covering the sun. Week 4: The texture become less permeable and hardens like sugar caramelized when making leche flan on too high a fire. Week 5: The cloud darkens gradually and lightning blinks intermittently like a firefly convention in Georgia. Week 6: There’s an eerie silence gathering around the cloud which is growing way out of proportion. Week 8: 200 MPH winds hit, torrential rains and the roof comes off the house. Week 10: There’s not a cloud in the sky. The sun appears. Weeks11-25: Inside you there's a storm of tears that makes Noah's flood look a kiddie-pool. Week 26: A new cloud of feelings form around you...

...a flash of colour amid a shadowy, gloomy background made me stop, a riot of colour and texture that compelled me to face the gilded frame. I'd never- never- seen anything like it. It's just a still life, a part of me said. And it was: a green glass vase with an assortment of flowers drooping over its narrow top, blossoms and leaves of every shape and size and colour- roses, tulips, morning glory, goldenrod, maiden's lace, peonies... The skill it must have taken to make them look so lifelike, to make them more than lifelike... Just a vase of flowers against a dark background- but more than that; the flowers seemed to be vibrant with their own light, as if in defiance of the shadows gathered around them. The mastery needed to make the glass vase hold that light, to bend the light with the water within, as if the vase did indeed have weight to it atop its stone pedestal... Remarkable.

She took my wings,' he whispered. Tamlin's green eyes flickered and I knew right then, that the faerie was going to die. Death wasn't just hovering in this hall; it was counting down the faerie's remaining heartbeats. I took one of the faerie's hands in mine. The skin there was almost leathery, and, perhaps more of a reflex than anything, his long fingers wrapped around mine, covering them completely. 'She took my wings,' he said again, his shaking subsiding a bit. I brushed the long, damp hair from the faerie's half-turned face, revealing a pointed nose and a mouth full of sharp teeth. His dark eyes shifted to mine, beseeching, pleading. 'It will be all right,' I said, and hoped he couldn't smell the lies the way the Suriel was able to. I stroked his limp hair, its texture like liquid night- another I would never be able to paint but would try to, perhaps forever. 'It will be all right.' The faerie closed his eyes, and I tightened my grip on his hand. Something wet touched my feet, and I didn't need to look down to see that his blood had pooled around me. 'My wings,' the faerie whispered. 'You'll get them back.' The faerie struggled to open his eyes. 'You swear?' 'Yes,' I breathed. The faerie managed a slight smile and closed his eyes again. My mouth trembled. I wished for something else to say, something more to offer him than my empty promises. The first false vow I'd ever sworn. But Tamlin began speaking, and I glanced up to see him take the faerie's other hand. 'Cauldron save you,' he said, reciting the words of a prayer that was probably older than the mortal realm. 'Mother hold you. Pass through the gates, and smell that immortal land of milk and honey. Fear no evil. Feel no pain.' Tamlin's voice wavered, but he finished. 'Go, and enter eternity.' The faerie heaved one final sigh, and his hand went limp in mine. I didn't let go, though, and kept stroking his hair, even when Tamlin released him and took a few steps from the table. I could feel Tamlin's eyes on me, but I wouldn't let go. I didn't know how long it took for a soul to fade from the body. I stood in the puddle of blood until it grew cold, holding the faerie's spindly hand and stroking his hair, wondering if he knew I'd lied when I'd sworn he would get his wings back, wondering if, wherever he had now gone, he had gotten them back. A clock chimed somewhere in the house, and Tamlin gripped my shoulder. I hadn't realised how cold I'd become until the heat of his hand warmed me through my nightgown. 'He's gone. Let him go.' I studied the faerie's face- so unearthly, so inhuman. Who could be so cruel to hurt him like that? 'Feyre,' Tamlin said, squeezing my shoulder. I brushed the faerie's hair behind his long, pointed ear, wishing I'd known his name, and let go.

Griff entered the cave, sword in hand. He had no desire to frighten Astelle, but he had to be prepared for anything. She jumped up from her fireside position with a small stifled scream at his entry, then continued to back fearfully towards the shadowed wall. She was quite alone. Griff could sense no other presence – only hers, and the wonder of it. He sheathed his sword, and gazed upon his long-lost love. Her hair had lost all trace of colour while still retaining the texture of youth, giving the appearance of white silk. There was a pulsating light of a blue-lilac shade which clung to the crown of her head, reflecting in the hair – a soul – a lost spirit – someone who had loved her. She was almost as pale as death, for Torking took far too much blood from her, too frequently. She was also much thinner than she should have been, but for all of this, she was still the most beautiful sight of his life. Her body was ravaged with Torking's bites and claw-marks. She was still wearing his old cloak which Griff instantly recognised, though it was little more than a rag, wrapped around her body and tied on one shoulder. Her beautiful dark eyes, those which had so haunted his dreams, seemed over-large in her pale face, as she stared at him with a mingling of shock, disbelief and joy. Griff took a few hesitant steps towards her, unsure of his reception. ‘Astelle?’ His voice grated with emotion. How often had she yearned to hear him speak her name exactly in that way? ‘Astelle – is it really you?’ He was just as divinely handsome as she remembered, and he looked so fine – he looked magnificent in Gremlen battledress. In the flickering torchlight, the blue krulmesh armour glittered over the black leather tunic. The emerald sheen in his raven hair was vivid as ever. Best of all, his dark forest-green eyes were shining with love, and she suddenly understood that Griff was a hundred times more beautiful than Torking, for his eyes held everything that was good, fine and noble. Astelle's heart almost stopped beating as she gazed at him. Her eyes filled with tears, and her lip trembled as she tried to whisper his name.

When I finally calmed down, I saw how disappointed he was and how bad he felt. I decided to take a deep breath and try to think this thing through. “Maybe it’s not that bad,” I said. (I think I was trying to cheer myself up as much as I was trying to console Chip.) “If we fix up the interior and just get it to the point where we can get it onto the water, at least maybe then we can turn around, sell it, and get our money back.” Over the course of the next hour or so, I really started to come around. I took another walk through the boat and started to picture how we could make it livable--maybe even kind of cool. After all, we’d conquered worse. We tore a few things apart right then and there, and I grabbed some paper and sketched out a new layout for the tiny kitchen. I talked to him about potentially finishing an accent wall with shiplap--a kind of rough-textured pine paneling that fans of our show now know all too well. “Shiplap?” Chip laughed. “That seems a little ironic to use on a ship, doesn’t it?” “Ha-ha,” I replied. I was still not in the mood for his jokes, but this is how Chip backs me off the ledge--with his humor.

Roosevelt was a brilliant, vociferous, combustible man, not the type who ordinarily reaches the presidency. In his whirlwind career, which had taken him from college to the White House in less than twenty years, he had been many things: a historian, lawyer, ornithologist, minority leader of the New York State Assembly, boxer, ranchman, New York City police commissioner, naturalist, hunter, civil service reformer, prolific author, devoted husband and father, voracious reader, assistant secretary of the navy, war hero, empire builder, advocate of vigorous physical exercise, governor of New York, and vice president of the United States. He was a big, broad-shouldered, barrel-chested man, with tan, rough-textured skin. His hair was close-cropped and reddish-brown in color, with bristles around the temples beginning to show gray, and his almost impossibly muscular neck looked as if it was on the verge of bursting his collar-stays. He wore pince-nez spectacles with a ribbon that hung down the left side of his face. When he smiled or spoke, he revealed two very straight rows of teeth, plainly visible from incisor to incisor, their gleaming whiteness sharply accented by his ruddy complexion.

The salmon is perfectly cooked. The trace amounts of sugar contained in the wheat flour have combined with the butter in a chemical reaction that's creating a wonderful fragrance. It was all fried together for precisely the right amount of time to create a superb Meunière." "The squid liver was quickly sautéed in a dollop of butter as well, taking a bite of that with the Meunière is sublime! The butter's flavor gently wraps around the salty and pleasantly bitter taste of the liver, giving it a beautifully mellow body." "He added pomegranate seeds and tonburi to the soy sauce marinated roe! Those three completely disparate flavors meld into a seamless whole thanks to butter! Not only does it have an amusing texture, the roe doesn't have its typical greasiness either!" *Tonburi, also called land caviar, is the seeds of the summer cypress plant. It's texture is similar to caviar.* He's used mounds of butter in so many different facets of the dish, but it somehow hasn't made the flavor heavy at all. The secret to that lies in the bed of special sushi rice hidden underneath the seafood! "This sushi rice was made not with vinegar but with orange juice and lemon juice!" "So that's why he was squeezing that mountain of oranges!"

It was in Oklahoma, within a month of her arrival, that they established the Fuck Yorick School of Forensics. This was not just a principle of necessary levity but the name of their bowling team. Wherever she worked, first in Oklahoma, then in Arizona, her cohorts ended the evenings with beer in one hand, a cheese taco in the other, cheering or insulting teams and scuffing along the edges of the bowling alleys in their shoes from the planet Andromeda. She had loved the Southwest, missed being one of the boys, and was now light-years beyond the character she had been in London. They would go through a heavy day’s work load, then drive to the wild suburban bars and clubs on the outskirts of Tulsa or Norman, with Sam Cooke in their hearts. In the greenroom a list was tacked up of every bowling alley in Oklahoma with a liquor license. They ignored job offers that came from dry counties. They snuffed out death with music and craziness. The warnings of carpe diem were on gurneys in the hall. They heard the rhetoric of death over the intercom; ‘vaporization’ or ‘microfragmentation’ meant the customer in question had been blown to bits. They couldn’t miss death, it was in every texture and cell around them. No one changed the radio dial in a morgue without a glove on.

This week we'll be learning about key elements of high quality picture books. Using the award winner lists in our course materials, select one picture book and share why it received its award. For example, Abuela is listed in the 100 Picture Books Everyone Should Know. According to Publishers Weekly, this is why it's so good: "In this tasty trip, Rosalba is "always going places" with her grandmother--abuela . During one of their bird-feeding outings to the park, Rosalba wonders aloud, "What if I could fly?" Thus begins an excursion through the girl's imagination as she soars high above the tall buildings and buses of Manhattan, over the docks and around the Statue of Liberty with Abuela in tow. Each stop of the glorious journey evokes a vivid memory for Rosalba's grandmother and reveals a new glimpse of the woman's colorful ethnic origins. Dorros's text seamlessly weaves Spanish words and phrases into the English narrative, retaining a dramatic quality rarely found in bilingual picture books. Rosalba's language is simple and melodic, suggesting the graceful images of flight found on each page. Kleven's ( Ernst ) mixed-media collages are vibrantly hued and intricately detailed, the various blended textures reminiscent of folk art forms. Those searching for solid multicultural material would be well advised to embark.

Her hands found his buttocks, squeezing the densely textured flesh like a cat kneading with its paws, and Jack gasped against her hair. Emboldened, she slid one hand to his sex and touched him, her fingers closing tightly around the pulsing shape. He moved to his side to give her more access to his body, letting her touch him in any manner she wished. Gently she cupped the fuzz-covered pouch at the base of his sex, which felt cool and soft in comparison to the turgid shaft. Her fingertips traced over the ridges of veins that led all the way up to a broad tip. Experimentally she drew the pad of her thumb over the satiny bulb, and he clenched his hands in her hair and groaned. "Does that please you?" she whispered. It appeared that he found it difficult to speak. "Yes," he finally managed with a smothered laugh. "God, yes... if you please me any more, I will probably explode." He tilted her head back and brought their faces together, his features shimmering with a mist of sweat, his eyes ablaze with blue light. His large hand covered hers, helping to guide the head of his shaft to the thatch of soft, wiry curls between her legs. His palm moved to her thigh, hitching it over his hip so that she was spread open for him. "Rub it against yourself," he murmured. Amanda's entire body turned crimson. Slowly she took the head of his shaft in her fingers and brought it to the damp furrow between her thighs. Her breath rushed in harsh surges as she rubbed the tip of his organ over her intimate flesh, until the moisture from her own body made him slippery.

But the one piece of this dish that plays the biggest role of all... is this wrapping around the chicken breast... the Croûte!" Croûte! A base of bread or pie dough seasoned with savory spices, croûte can refer either to the dough itself or a dish wrapped in it. It's a handy addition that can boost the aroma, textures and presentation of a dish without overpowering its distinctive flavors! "You are correct. Therein lies the greatest secret of my dish. Given the sudden measurements to the original plan and my need to create an entirely different dish... ... the Croûte I had intended to use to wrap the chicken breast required two very specific additions. Those two ingredients were... FINELY MINCED SQUID LEGS... ... AND PEANUT BUTTER." "NO WAY! SQUID LEGS AND PEANUT BUTTER?!" "Yes! Squid legs and peanut butter! Appetizer and main dish! There is no greater tie that could bind our two dishes together!" Peanut butter's mild richness adds subtle depth to the natural body of the chicken, making it an excellent secret seasoning. And the moderately salty bitterness of the squid legs is extremely effective in tying the Croûte's flavor together with the meaty juiciness of the chicken! "Even an abominable mash-up that Yukihira has tinkered with for ages... ... can be transformed into elegant gourmet beauty when put in my capable hands. The Jidori chicken breasts and the squid and peanut butter Croûte... those are the two pillars of my dish! To support them, I revised all the seasonings for the sauces and garnishes... ... so that after you tasted Soma Yukihira's dish... ... the deliciousness of my own dish would ring across your tongues as powerfully as possible!

I sucked on a blade of grass and watched the millwheel turn. I was lying on my stomach on the stream's opposite bank, my head propped in my hands. There was a tiny rainbow in the mist above the froth and boil at the foot of the waterfall, and an occasional droplet found its way to me. The steady splashing and the sound of the wheel drowned out all other noises in the wood. The mill was deserted today, and I contemplated it because I had not seen its like in ages. Watching the wheel and listening to the water were more than just relaxing. It was somewhat hypnotic. … My head nodding with each creak of the wheel, I forced everything else from my mind and set about remembering the necessary texture of the sand, its coloration, the temperature, the winds, the touch of salt in the air, the clouds... I slept then and I dreamed, but not of the place that I sought. I regarded a big roulette wheel, and we were all of us on it-my brothers, my sisters, myself, and others whom I knew or had known-rising and falling, each with his allotted section. We were all shouting for it to stop for us and wailing as we passed the top and headed down once more. The wheel had begun to slow and I was on the rise. A fair-haired youth hung upside down before me, shouting pleas and warnings that were drowned in the cacophony of voices. His face darkened, writhed, became a horrible thing to behold, and I slashed at the cord that bound his ankle and he fell from sight. The wheel slowed even more as I neared the top, and I saw Lorraine then. She was gesturing, beckoning frantically, and calling my name. I leaned toward her, seeing her clearly, wanting her, wanting to help her. But as the wheel continued its turning she passed from my sight. “Corwin!” I tried to ignore her cry, for I was almost to the top. It came again, but I tensed myself and prepared to spring upward. If it did not stop for me, I was going to try gimmicking the damned thing, even though falling off would mean my total ruin. I readied myself for the leap. Another click... “Corwin!” It receded, returned, faded, and I was looking toward the water wheel again with my name echoing in my ears and mingling, merging, fading into the sound of the stream. … It plunged for over a thousand feet: a mighty cataract that smote the gray river like an anvil. The currents were rapid and strong, bearing bubbles and flecks of foam a great distance before they finally dissolved. Across from us, perhaps half a mile distant, partly screened by rainbow and mist, like an island slapped by a Titan, a gigantic wheel slowly rotated, ponderous and gleaming. High overhead, enormous birds rode like drifting crucifixes the currents of the air. We stood there for a fairly long while. Conversation was impossible, which was just as well. After a time, when she turned from it to look at me, narrow-eyed, speculative, I nodded and gestured with my eyes toward the wood. Turning then, we made our way back in the direction from which we had come. Our return was the same process in reverse, and I managed it with greater ease. When conversation became possible once more, Dara still kept her silence, apparently realizing by then that I was a part of the process of change going on around us. It was not until we stood beside our own stream once more, watching the small mill wheel in its turning, that she spoke.

Let your imagination change what you know. Suddenly a gray rock becomes ashen or clouded with dream. A ring round a rock is luck. To find a red rock is to discover earthblood. Blue rocks make you believe in them. Patterns and flecks on rocks are bits of different countries and terrains, speckled questions. Conglomerates are the movement of land in the freedom of water, smoothed into a small thing you can hold in your hand, rub against your face. Sandstone is soothing and lucid. Shale, of course, is rational. Find pleasure in these ordinary palm worlds. Help yourself prepare for a life. Recognize when there are no words for the pain, when there are no words for the joy, there are rocks. Fill all the clear drinking glasses in your house with rocks, no matter what your husband or lover thinks. Gather rocks in small piles on the counters, the tables, the windowsills. Divide rocks by color, texture, size, shape. Collect some larger stones, place them along the floor of your living room, never mind what the guests think, build an intricate labyrinth of inanimates. Move around your rocks like a curl of water. Begin to detect smells and sounds to different varieties of rock. Give names to some, not geological, but of your own making. Memorize their presence, know if one is missing or out of place. Bathe them in water once each week. Carry a different one in your pocket every day. Move away from normal but don’t notice it. Move towards excess but don’t care. Own more rocks than clothing, than dishes, than books. Lie down next to them on the floor, put the smaller ones in your mouth occasionally. Sometimes, feel lithic, or petrified, or rupestral instead of tired, irritable, depressed. At night, alone, naked, place one green, one red, one ashen on different parts of your body. Tell no one.

‌* When the coughing stopped, there was nothing but the nothingness of life moving on with a shuffle, or a near-silent twitch. ‌* Mistakes, mistakes, it’s all I seem capable of at times ‌*No matter how many times she was told that she was loved, there was no recognition that the proof was in the abandonment. ‌*It’s much easier, she realized, to be on the verge of something than to actually be it ‌*When death captures me,” the boy vowed, “he will feel my fist on his face.”. ‌*he’d turned for one last look at his family as he left the apartment. Perhaps then the guilt would not have been so heavy. No final goodbye. No final grip of the eyes. Nothing but goneness. ‌ *Wrecked, but somehow not torn into pieces. ‌*Life had altered in the wildest possible way, but it was imperative that they act as if nothing at all had happened. ‌*“If we gamble on a Jew,” said Papa soon after, “I would prefer to gamble on a live one,” and from that moment, a new routine was born. *‌you should know it yourself—a young man is still a boy, and a boy sometimes has the right to be stubborn.” ‌*The fire was nothing now but a funeral of smoke, dead and dying, simultaneously. ‌*Even death has a heart.. ‌* In truth, I think he was afraid. Rudy Steiner was scared of the book thief’s kiss. He must have longed for it so much. He must have loved her so incredibly hard. So hard that he would never ask for her lips again and would go to his grave without them. ‌*There is death. Making his way through all of it. On the surface: unflappable, unwavering. Below: unnerved, untied, and undone. *‌That damn snowman,” she whispered. “I bet it started with the snowman—fooling around with ice and snow in the cold down there.” Papa was more philosophical. “Rosa, it started with Adolf.” *‌There were broken bodies and dead, sweet hearts. Still, it was better than the gas ‌*They were French, they were Jews, and they were you. ‌*Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. *‌Himmel Street was a trail of people, and again, Papa left his accordion. Rosa reminded him to take it, but he refused. “I didn’t take it last time,” he explained, “and we lived.” War clearly blurred the distinction between logic and superstition. ‌*Silence was not quiet or calm, and it was not peace. ‌*“I should have known not to give the man some bread. I just didn’t think.” “Papa, you did nothing wrong.” “I don’t believe you. ‌ * I’m an idiot.” No, Papa. You’re just a man.. ‌*What someone says and what happened are usually two different things ‌* despised by his homeland, even though he was born in it ‌ *“Of course I told him about you,” Liesel said. She was saying goodbye and she didn’t even know it. ‌*Say something enough times and you never forget it ‌*robbery of his life? ‌*Those kinds of souls always do—the best ones. The ones who rise up and say, “I know who you are and I am ready. Not that I want to go, of course, but I will come.” Those souls are always light because more of them have been put out. More of them have already found their way to other places ‌*One could not exist without the other, because for Liesel, both were home. Yes, that’s what Hans Hubermann was for Liesel Meminger ‌*DEATH AND LIESEL It has been many years since all of that, but there is still plenty of work to do. I can promise you that the world is a factory. The sun stirs it, the humans rule it. And I remain. I carry them away.

SENSORY AVOIDERS – SENSORY DEFENSIVENESS “And have I not told you that what you mistake for madness is but over-acuteness of the senses?” -Edgar Allen Poe, The Tell-Tale Heart (1843) Imagine a day inside Jenny’s skin. The morning alarm goes off and she startles, her heart races, her body tightens, her breathing quickens.  Her husband turns to get out of bed, grazing her foot, and she cringes, her bodily rhythms speed up another notch and her body tightens further. He sees that she seems annoyed about something and affectionately strokes her cheek. She bristles and, when he turns around, rubs where he touched her. She slowly arises to get out of bed, as she feels a bit dizzy, and quickly puts on her soft cotton house slippers, as the feel of the carpet makes her recoil, and walks into the bathroom. The bright lights her husband has left turned on assault her. Her eyes squint painfully. She quickly turns off the lights and turns on a small lamp on the sink counter. Her already overloaded system gets further destabilized. She starts to brush her teeth but the toothbrush is new and the bristles tickle her uncomfortably. She leans over to spit out the toothpaste and feels a sudden loss of balance and a surge of panic engulfs her. She steadies herself and turns on the shower. The soft spray of water from the showerhead feels like pelts of hail hitting her body. Her already stressed system is accelerating fast into overload. And her morning has only just begun!  She still has to figure out what clothes to put on, as most textures annoy her and feel uncomfortable on her body. She has to figure out what to eat for breakfast, as anything soft, mushy, or creamy repulses her. Worst of all, she has to figure out how to face the world outside that, for her, is like maneuvering through a sensory minefield. Jenny is an avoider or what is commonly known as sensory defensive (SD), a common mimicker of anxiety and panic. The sensory defensive feel too much, too soon and for too long, and experience the world as too loud, too bright, too fast and too tight, becoming easily distressed by everyday sensation

And today, for the first time, we are given a real recipe: making chocolate pudding from scratch. We stir cocoa and cornstarch and sugar together, then stir in milk. Chef guides us step by step and we all clean our stations as the pudding chills. As I'm putting away my ingredients, a little red bottle in the pantry calls my attention. I snatch it up and sprinkle some on my pudding. When Chef Ayden calls us up to test our dishes, I'm the first student to set my bowl in front of him. He grabs a clean plastic spoon and pulls my dish closer to him, leaning down to inspect it, turning the dish slowly in a circle. "Mmm. Nice chocolate color, smooth texture; you made sure the cream didn't break, which is great. And I'm curious what this is on top." He takes a tiny spoonful and pops it into his mouth, and the moment his mouth closes around the spoon his eyelids close, too. I wonder if my cooking woo-woo will work on him. "What is that?" he asks, his eyes still closed. I assume he means the spice on top and not whatever memory may have been loosened by my pudding. His eyes open and I realize the question was in fact for me. "I used a little smoked paprika," I say. Heat creeps up my neck. I hadn't even thought about what would happen if I used an ingredient that wasn't in the original recipe. "You trying to show off, Emoni?" Chef Ayden asks me very, very seriously. "No, Chef. I wasn't." "The ancient Aztecs too would pair chocolate with chipotle and cayenne and other spices, although it is not so common now. Why'd you add it?" "I don't know. I saw it in the pantry and felt the flavors would work well together." He takes another spoonful. Chef told us from the beginning that since every student is evaluated, he would very rarely take more than one bite of any single dish. I'm surprised he does so now, but he closes his eyes again as if the darkness behind his lids will help him better taste the flavors. His eyes pop open. "This isn't bad." He drops his spoon. "Emoni, I think creativity is good. And this, this..." He gives a half laugh like he's surprised he doesn't know what to say. He clears his throat and it seems almost like a memory has him choked up.

When I finally calmed down, I saw how disappointed he was and how bad he felt. I decided to take a deep breath and try to think this thing through. “Maybe it’s not that bad,” I said. (I think I was trying to cheer myself up as much as I was trying to console Chip.) “If we fix up the interior and just get it to the point where we can get it onto the water, at least maybe then we can turn around, sell it, and get our money back.” Over the course of the next hour or so, I really started to come around. I took another walk through the boat and started to picture how we could make it livable--maybe even kind of cool. After all, we’d conquered worse. We tore a few things apart right then and there, and I grabbed some paper and sketched out a new layout for the tiny kitchen. I talked to him about potentially finishing an accent wall with shiplap--a kind of rough-textured pine paneling that fans of our show now know all too well. “Shiplap?” Chip laughed. “That seems a little ironic to use on a ship, doesn’t it?” “Ha-ha,” I replied. I was still not in the mood for his jokes, but this is how Chip backs me off the ledge--with his humor. Then I asked him to help me lift something on the deck, and he said, “Aye, aye, matey!” in his best pirate voice, and slowly but surely I came around. I can’t believe I’m saying this, but by the end of that afternoon I was actually a little bit excited about taking on such a big challenge. Chip was still deflated that he’d allowed himself to get duped, but he put his arm around me as we started walking back to the truck. I put my head on his shoulder. And the camera captured the whole thing--just an average, roller-coaster afternoon in the lives of Chip and Joanna Gaines. The head cameraman came jogging over to us before we drove away. Chip rolled down his window and said sarcastically, “How’s that for reality TV?” We were both feeling embarrassed that this is how we had spent our last day of trying to get this stinkin’ television show. “Well,” the guy said, breaking into a great big smile, “if I do my job, you two just landed yourself a reality TV show.” What? We were floored. We couldn’t believe it. How was that a show? But lo and behold, he was right. That rotten houseboat turned out to be a blessing in disguise.

The Scientific Revolution was revolutionary in a way that is hard to appreciate today, now that its discoveries have become second nature to most of us. The historian David Wootton reminds us of the understanding of an educated Englishman on the eve of the Revolution in 1600: He believes witches can summon up storms that sink ships at sea. . . . He believes in werewolves, although there happen not to be any in England—he knows they are to be found in Belgium. . . . He believes Circe really did turn Odysseus’s crew into pigs. He believes mice are spontaneously generated in piles of straw. He believes in contemporary magicians. . . . He has seen a unicorn’s horn, but not a unicorn. He believes that a murdered body will bleed in the presence of the murderer. He believes that there is an ointment which, if rubbed on a dagger which has caused a wound, will cure the wound. He believes that the shape, colour and texture of a plant can be a clue to how it will work as a medicine because God designed nature to be interpreted by mankind. He believes that it is possible to turn base metal into gold, although he doubts that anyone knows how to do it. He believes that nature abhors a vacuum. He believes the rainbow is a sign from God and that comets portend evil. He believes that dreams predict the future, if we know how to interpret them. He believes, of course, that the earth stands still and the sun and stars turn around the earth once every twenty-four hours.7 A century and a third later, an educated descendant of this Englishman would believe none of these things. It was an escape not just from ignorance but from terror. The sociologist Robert Scott notes that in the Middle Ages “the belief that an external force controlled daily life contributed to a kind of collective paranoia”: Rainstorms, thunder, lightning, wind gusts, solar or lunar eclipses, cold snaps, heat waves, dry spells, and earthquakes alike were considered signs and signals of God’s displeasure. As a result, the “hobgoblins of fear” inhabited every realm of life. The sea became a satanic realm, and forests were populated with beasts of prey, ogres, witches, demons, and very real thieves and cutthroats. . . . After dark, too, the world was filled with omens portending dangers of every sort: comets, meteors, shooting stars, lunar eclipses, the howls of wild animals.8 To the Enlightenment thinkers the escape from ignorance and superstition showed how mistaken our conventional wisdom could be, and how the methods of science—skepticism, fallibilism, open debate, and empirical testing—are a paradigm of how to achieve reliable knowledge. That knowledge includes an understanding of ourselves.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

NOTE: Practice your most effective relaxation techniques before you begin these exercises (refer to Chapter 6 if necessary). People are better able to concentrate when they are relaxed. Listening -Pay attention to the sounds coming from outside: from the street, from above in the air, from as far away as possible. Then focus on one sound only. -Pay attention to the sounds coming from a nearby room—the kitchen, living room, etc. Identify each one, then focus on a single sound. -Pay attention to the sounds coming from the room you are in: the windows, the electrical appliances. Then focus on one sound only. -Listen to your breathing. -Hear a short tune and attempt to re-create it. -Listen to a sound, such as a ringing doorbell, a knock on the door, a telephone ringing, or a siren. How does it make you feel? -Listen to a voice on the telephone. Really focus on it. -Listen to the voices of family members, colleagues, or fellow students, paying close attention to their intonation, pacing, and accent. What mood are they conveying? Looking -Look around the room and differentiate colors or patterns, such as straight lines, circles, and squares. -Look at the architecture of the room. Now close your eyes. Can you describe it? Could you draw it? -Look at one object in the room: chair, desk, chest of drawers, whatever. Close your eyes and try to picture the shape, the material, and the colors. -Notice any changes in your environment at home, at school, or in your workplace. -Look at magazine photos and try to guess what emotions the subjects’ expressions show. -Observe the effect of light around you. How does it change shapes? Expressions? Moods? Touching -When shaking a person’s hand, notice the temperature of the hand. Then notice the temperature of your own hand. -Hold an object in your hands, such as a cup of coffee, a brick, a tennis ball, or anything else that is available. Then put it down. Close your eyes and remember the shape, size, and texture of the object. -Feel different objects and then, with your eyes closed, touch them again. Be aware of how the sensations change. -Explore different textures and surfaces with your eyes first open and then closed. Smelling and Tasting -Be aware of the smells around you; come up with words to describe them. -Try to remember the taste of a special meal that you enjoyed in the past. Use words to describe the flavors—not just the names of the dishes. -Search your memory for important smells or tastes. -Think of places with a strong tie to smell. These sensory exercises are an excellent way to boost your awareness and increase your ability to concentrate. What is learned in the fullest way—using all five senses—is unlikely to be forgotten. As you learn concentration, you will find that you are able to be more in tune with what is going on around you in a social situation, which in turn allows you to interact more fully.

Sam, darling, when you suddenly look around you and see that—life itself is the basic magic, the real miracle, then we might have a chance. You are trying to impose your sense of order and fitness on the randomness of people and the illogic of fate. You want to refute the basic textures, the crazy mixture of life, and neaten it all up.

………………………………………….. Taylor was keenly aware of his vulnerability as he entered the cottage. He had no weapons, no friends, and no idea why he was there. If they wanted his head, it was theirs, and there was little he could do about it. And yet, he did not feel unsafe. He felt kept. Inside was a small, dimly lit room with just four or five candles planted here and there around it, including one in a long silver holder that stood atop a small, elegantly carved table in the center. Before the table was a stool, also beautifully carved, with another, similar one opposite. There was a stool in the corner as well, and two more next to a hardwood desk on the right. The walls were rough with the texture of the clay, and looked peach in the candlelight. There were arched doorways leading off to unlit corridors, and one large doorway behind the table, covered by a red velvet curtain. If it was going to be a sneak attack, Taylor would be an easy target. “Sit here,” the stout man said, motioning to the stool before the table. “And wait.” He did so, and the stout man walked off through the velvet curtain with his staff. A moment later Taylor could hear mutterings between him and another, but he could not make out what they were saying. For a few seconds there was silence, and Taylor became suddenly worried. Then, to his relief, the stout man reemerged and took his seat in the corner, his eyes set on the room from whence he had just come. Taylor, too, set his eyes on the curtain, unsure whether there would emerge a man or a wild beast, but curious nonetheless. His curiosity was answered when the

the forms of the landscape – like the identities and capacities of its human inhabitants – are not imposed upon a material substrate but rather emerge as condensations or crystallizations of activity within a relational field. As people, in the course of their everyday lives, make their way by foot around a familiar terrain, so its paths, textures and contours, variable through the seasons, are incorporated into their own embodied capacities of movement, awareness and response – or into what Gaston Bachelard calls their ‘muscular consciousness’. But conversely, these pedestrian movements thread a tangled network of personalized trails through the landscape itself. Through walking, in short, landscapes are woven into life, and lives are woven into the landscape, in a process that is continuous and never-ending.

She bent over the table and proceeded to tip the pitcher over each plate and spill a thick white goo over everything. It covered the turkey and the yams and puddled all over each plate. Roughly the texture of heavy whipping cream. Decker couldn’t, by god, tell what that was supposed to be. “What is that?” he asked. “Gravy?” Stung, Araceli backed away from the table and clutched the pitcher to her heart. “Is los mash potatoes!” she cried and ran to the kitchen in humiliation. They could hear her crying in there. Dexter rose. “God. Damn. It,” he announced. “Look here. This is my country. This is my country. We been here, working this land, forever. We made our lives here. We planted crops here. We had our children and - and we buried our loved ones here. Right here! Is it too goddamned much to ask that somebody pay the slightest fucking attention to our traditions and history and stop wrecking everything? Could you learn the language? Could you cook a simple meal that anybody from here would recognize as real food? Am I asking too much?” He was red in the face and shaking. He was embarrassed about the whole thing - ashamed of his comment to Araceli, ashamed to have shown his emotions, ashamed that he had tears in the corners of his eyes. Outbursts were simply not the West Linden way. Reverend Visser just stared at his own hands with his head bowed. Juan fingered the arrowhead, spun it around and around with one finger. He didn’t want to eat the goopy mash potatoes either. “Yeah, Jefe. That’s what Geronimo said.

Your clothing and environment are also extensions of your physical boundaries. Not only does clothing affect how others see and, therefore, treat you, but also various textures and colors determine the shape and frequency of your physical boundary. • Wear red if you want to kick other people’s energies out of your energy field. • Wear earth tones, including russet, citrine, olive, goldenrod, or brown if you want to fill in boundary holes, repel negative environmental energies, and feel more grounded in your own unique energy. • Wear gray or black if you want to hide yourself, thus avoiding those who want to dump their energies onto you or slide their work onto you. • Try purple. In feng shui, purple is a sign of workplace success. Small touches of it on or around you will encourage your field to open only to growth and to eliminate or reject negative influences. • For interviews, consider soft touches of pink, yellow, or blue. These colors open your physical energetic field. Pink guarantees that you will fit in and get along with coworkers. Yellow reflects intelligence, and blue soothes jagged edges of your physical energetic field, leaving you seamless and calm.

Eli returned to the river and paused for a moment midstream. His feet were balanced upon uneven stones. The current tumbled around him. The canyon walls were steep and jagged and solid. The colors beneath the surface stirred and glittered. He wanted to hold his face under water and breathe in their beauty. He dipped his fingers into the snow-cold transient texture and felt a tingle. He closed his eyes to see this sensation clearly. He breathed. He put his hand up to his face and felt the freshness enter his soul. Water droplets dripped from his skin and returned to the river. He opened his eyes as if they were separate from his body, separate from the tension of life, distant from any distraction. He breathed.

Stella daydreamed about Continental delicatessen stores and the scent of ripe tomatoes. She and Michael had liked to go to Covent Garden and Billingsgate together, to Fortnum & Mason, and to the little foreign grocers' shops around Golders Green, Soho and Camden Town. She'd loved to see the sacks of pistachio nuts and the jars of crystallized ginger, the bottles of orange-flower water and distillations of rose petals, suggestive of the flavors of dishes from The Arabian Nights, the barrels of pickled herrings and the sides of salt beef. Together they enjoyed talking about what they might do with the star anise and the brined green peppercorns, the tarragon vinegar and the bottled bilberries. People had sometimes given Stella questioning looks when she took her sketchpad to the markets, but there was a pleasure in trying to capture the textures of the piled oranges and peaches and the glimmer of mackerel scales.

I can only be around eggs for so long, and if I must make them, I will not be able to eat them. There’s just something about the smell, and the texture, that makes them nigh unpalatable after I think about them for more than a minute.

The Ultimate Minimalist Wallets For Men: Functionality Meets Style? More than just a way of transporting essentials like money and ID, the simplest men’s wallets also are a chance to precise your taste and elegance. The perfect minimalist wallet may be a marriage of form and performance. It’s hard-wearing, ready to withstand everyday use, and has high-end design appeal. the perfect wallet is one that you simply can take enjoyment of whipping out at the top of a meal with a client or the in-laws. This one’s on me. Your wallet should complement your lifestyle. Perhaps you’re an on-the-go professional rushing from an office meeting to a cocktail bar. or even you’re a stay-at-home parent who takes pride in your fashion-forward accessories. No single wallet-owner is that the same. Your wallet should say something about your unique personality. Whether you’re seeking an attention-grabbing luxury accessory or something more understated and practical, there’s a wallet that’s got your name thereon. Here’s a variety of the simplest men’s wallets for each taste, style, and purpose. Here Is That The List Of Comfortable Wallets For Men Here, we'll introduce recommended men's outstandingly fashionable wallets. If you would like to be a trendy adult man, please ask it. 1- Stripe Point Bi-Fold Wallet (Paul Smith) "Paul Smith" may be a brand that's fashionable adult men, not just for wallets but also for accessories like clothes and watches. it's a basic series wallet that uses Paul Smith's signature "multi-striped pattern" as an accent. Italian calf leather with a supple texture is employed for the wallet body, and it's a typical model specification of a bi-fold wallet with 1 wallet, 2 coin purses, 4 cardholders. 2- Zippy Wallet Vertical (Louis Vuitton) "Louis Vuitton" may be a luxury brand that's so documented that it's called "the king of high brands" by people everywhere the planet . a trendy long wallet with a blue lining on the "Damier Graffiti", which is extremely fashionable adult men. With multiple pockets and compartments, it's excellent storage capacity. With a chic, simple and complicated design, and having a luxury brand wallet that everybody can understand, you'll feel better and your fashion is going to be dramatically improved. 3- Grange (porter) "Poker" is that the main brand of Yoshida & Co., Ltd., which is durable and highly functional. Yoshida & Co., Ltd. is now one of Japan's leading brands and is extremely popular not only in Japan but also overseas. The charm of this wallet is that the cow shoulder leather is made in Italy, which has been carefully tanned with time and energy. because of the time-consuming tanning process, it's soft and sturdy, and therefore the warm taste makes it comfortable to use. 4- Bellroy Note Sleeve The Note Sleeve is just the simplest all-around wallet in Bellroy’s collection. If you don’t want to spend plenty of your time (or money) researching the simplest wallet, you'll stop here. This one has everything you would like. And it's good too! This wallet will easily suit your cash, coins, and up to eleven cards during a slim profile. The Note Sleeve also has quick-access slots for your daily cards and a cargo area with a convenient pull-tab for the credit cards you employ less frequently.

His voice has the texture of an old blues singer. His accent peppered with the quintiscential New Orleans lilt. The way the vowels and words, like 'point' and 'joint' evaporate off the tongue. Replaced by a soft r that turns its language into jazz. The way words like 'corner' walk around the edges of the mouth before slipping off into the wind.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

Eating is a celebration of the senses, Watson! Smell and taste are the most obvious, yet do we not place value on the texture as well? By what right has it been determined that all pleasure sensations must take place within the mouth and that none is permitted around it?

9 Flags is a multi-cuisine café bistro that introduces a blend of flavours that will tickle your palate. Homemade marinades and sauces drizzled and sizzled on dishes, that will take you on a journey around the world. Perfect flavours blended by hand from the best culinary chefs, an experience you all must try. We see our plates as a canvas with fresh garnish used and the play with textures will keep you mesmerized. 9 Flags will give you a dining experience you will never want to miss.

New Yorkers liked Sadik-Khan’s bike lanes and the plazas; they liked the 800 more acres of parks—though Parks had cut its staff 40% between 2008 and 2012 even as the Central Park Conservancy boasted a $183 million endowment—and three-quarters of a million more trees. A certain texture was gone though, easy to see on the Upper East Side where almost a third of the apartments between 49th and 70th between Fifth and Park were vacant ten months a year, owned by shell companies and LLCs. The neighborhood was a kind of jewelry store now, apartments tended and traded for their speculative value. Yet the idea of New York City was bigger and broader than it had ever been. By 2010, 37% of New York’s residents were immigrants, two-thirds living in Brooklyn and Queens, and as much as globalization had helped gut the city’s manufacturing base, they’d been at least as much responsible for hatching its evolutions as anything done at One Police Plaza or City Hall. While Wall Street had been mining wealth for itself, immigrants from around the world had rebuilt the day-to-day economy; from 1994 to 2004, businesses in neighborhoods like Flushing and Sunset Park grew by as much as 55%. Half of the city’s accountants

Needles—sharps, betweens, milliner’s, darners, tapestry, embroidery, beading, for all that must be pierced and adorned and joined together Pin cushion, apple-shaped, with a felt stem, to keep pins from getting lost Thimble, your mother’s, gold, on a chain, a tiny loop soldered to the top; wear it on your index finger so you won’t prick yourself, or around your neck, to remember Measuring tape, for determining shape and size, yards, inches, centimeters, the distance from here to there Thread—mercerized, nylon silk, textured, floss Fabric, swatches and yards and bolts, wool, silk, linen, net, whatever will come next, whatever will be made The pattern? Will it come from a drawer at the fabric store—McCall’s, Butterick, Simplicity, names from your childhood, the instructions in an envelope, the outcome preordained? Or will you make it up as you

MacRae drew closer and took her head in his hands. His thumbs caressed the edge of her jaw, the light rasp of calluses causing gooseflesh to rise everywhere. Holy Moses, he was really going to do it. She was about to be kissed by a stranger. Too late to make light of anything now. What have I done? She stared up at him with wide eyes, the dissonant notes of nerves and tension joining in a long, sweet chord of desire. The crescents of his lashes, dark with gold tips, lowered slightly as he looked down at her. There was no place to hide from that piercing gaze. She felt so terribly exposed, every bit as naked as he'd been a few minutes ago. His head bent, and his mouth found hers with a pressure as soft as snowfall. She'd thought he might be rough or impatient, maybe a bit clumsy... she'd expected anything but the gently teasing caress that coaxed her lips apart before she was even aware of it. He tasted her with the tip of his tongue, a sensation that went down to her knees and weakened them. She felt herself list like a ship unable to right itself, but he gathered her firmly against him, his supportive arms closing around her. The tender focus on her mouth deepened until it had gone on longer than any kiss in her life, and still she wanted more. He kissed her as if it were not the first time but the last, as if the world were about to end, and every second was worth a lifetime. He feasted on her with the craving of years. Blindly she caught at his mouth with hers, while her fingers tangled in his hair. The textures of him- plush velvet, rough bristle, wet silk- stimulated her beyond bearing. She'd never known desire like this, a swoon that kept deepening into more and more exquisite feeling.

omnipresent, neither of which God desired for me to be. As I read the Gospels, it became clearer and clearer to me that Jesus himself was not selfless. Jesus went into the mountains and prayed to the point that even his disciples could not find him. Jesus ate. Jesus drank. Jesus slept. He took care of himself. And never once was Jesus hurried from place to place, controlled by a busy schedule. Jesus lived a rhythm completely different from anyone around him. The rhythm of his life was, in itself, a prophetic act against the rhythms of the world. Sabbath rhythms are not meant for paper; they are meant to be practiced. “Holy days, rituals, liturgies—all are like musical notations which, in themselves,” one Jewish scholar writes, “cannot convey the nuances and textures of live performance.

Meditation # 3 Writing Coffee! Today there are so many cafes to choose from. I’m in NYC now and have a choice of 5 ‘coffee shops’ within a 2-block radius. When I lived here over 20 years ago that would have looked more like 1 cafe in a 12-block radius. Not including Bodegas! Find your way to a cafe—by yourself. You’re allowed a newspaper, book or digital device of your choice but also bring along a pen and paper. Get your favorite hot beverage. Teas are nice, too! And relax. Mindfulness training reminds you to pause. To be observant. To not only look but to see. Try that now—if you are in a cafe. Notice everything! The walls—their color and texture, what’s hanging on them. Is there a theme? I.e. Do you notice photos of bread being made? Flowers in baskets? Coffee beans being harvested? What are the sounds? Do you hear a cappuccino machine frothing fresh milk? People talking? Music being streamed in the background? What are the smells? Are they heavenly? Breads? Dark roasts? What do you feel? Are there people around? Do you feel comfortable? Are you self-conscious? Take out your paper and write your responses down. All of them. Without judgment. You have just been creative!